Part 4
‡J. S. Kusser (Couser), composer, born in 1657 at Pressburg.
‡Joseph Haydn, born in 1732 at Rohrau.
‡Michael Haydn, born in 1737 at Rohrau.
‡Johann Evangelist Haydn, born in 1743 at Rohrau.
‡Matthias Kamiensky (Kamenar), composer, born in 1734 at Oedenburg.
Theodor Lotz, musical instrument maker, born about 1740 at Pressburg.
‡Anton Zimmermann, composer, born in 1741 at Pressburg.
‡N. Hadrava, Lutenist, born in 1750 near Pressburg.
‡G. Druschetzky (Druzechi), composer, born about 1760 at Pressburg. (?)
Jacob Hyrtl, oboe-player in the Esterházy orchestra, born about 1760 at Eisenstadt.
Joseph Weigel (Weigl), composer, born in 1766 at Eisenstadt.
‡Ivan Bihari, violinist and composer, born in 1769 at Great Abony.
‡Stephan Koch, musical instrument maker, born in 1772 at Vesprim.
‡Ivan Fuss, composer, born in 1777 at Tolnau.
‡Johann Nepomuk Hummel, born in 1778 at Pressburg.
‡Joseph Blahak, composer, born in 1779 at Raggersdorf.
‡Ivan Fuchs, Kapellmeister to Prince Esterházy, born in 1780 at Eisenstadt.
Peter Lichtenthal, composer, born in 1780 at Pressburg.
Count Thadeus Amadé, pianist, born in 1783 at Pressburg.
‡Adolf Müller, composer, born in 1802 at Tolnau.
‡Joseph Wurda, singer, born in 1807 at Gjur (Raab).
‡Friedrich Fischer, singer, born in 1809 at Pressburg.
[36]Franz Liszt, born in 1811 at Raiding (Rudnik).
Michael Hauser, violinist, born in 1822 at Pressburg.
‡Ferdinand Kletzer, violoncellist, born in 1830 at Oedenburg. (?)
Joseph Joachim, born in 1831 at Kitsee.
Carl Goldmark, born in 1832 at Keszthelyn.
Ludwig Straus, born in 1845 at Pressburg.
Leopold Auer, violinist, born in 1845 at Vesprim.
Charlotte Debner, violinist, born in 1846 at Kitsee.
‡ Probably Croatian.
[36] The case of Liszt is somewhat apart from the others. The earliest form of his name appears to be Listhius, which Dr. Kuhač claims with some plausibility as Slavonic (naše gore list). But as early as 1747 the Magyarised form appears in the person of Canon Johann Liszt; and there can be little doubt that by the time of the great pianist’s birth the family had become thoroughly Hungarian. There are, of course, many Hungarian families in which Magyar and Slavonic strains are united, and in the music of Liszt the Magyar element unquestionably predominates.
APPENDIX F.
_Names of Croatian Musicians Translated or Corrupted._
(_a_) _Translated_ (equivalent of meaning: conjectural).
_Current Name._ _Croatian Name._
Neusiedler. Novosel. Bockshorn. Ročić. Bach. Potočić or Potočniak. Rauch. Dimić or Dimović. Zimmermann. Tesar, or Tesarević. Koch. Kuhač, Kuhačević, or Kuharević. Fuss. Nogić, or Nogavac. Hummel. Bumbarević or Ćmeliak.[37] Fuchs. Lissa, Lisica, or Lisinski. Müller. Mlinar or Mlinarić. Fischer. Ribar or Ribarić.
(_b_) _Corrupted_ (adaptation of sound: reasonably certain).
Bulgarelli. Bugarin. Bona. Bunić. Brusa. Brusić. Draghi. Dragi. Dragonetti. Draganić. Ferrich. Ferić. Gerlo. Grlo. Giornovichi. Jarnović. Jelich or Jael. Jelić. Kresnik. Gresnik. Henkel. Kengelović. Calinde. Kalin. Kannabich. Kanabić. Cola. Kola. Muzin. Mužina. Mazoleni. Mazolić. Mazzuranna. Mašuranić. Nachich or Nanchini. Nakić. Pollini. Polić. Desplanes. Polinar. Pisaroni. Pisar. Zappa. Sapa. Scalichius. Skalić. Smetenich. Smetenić. Tamparizza. Tamparica. Thern. Trn. Tartini. Trtić. Tuscan. Tuskan. Visochi. Visoki. Zingarelli. Ciganin. Zagitz. Zaic. Zuchetto. Zuketić. Schuppanzigh. Zupančić.
[37] According to the two meanings of the word Hummel.
APPENDIX G.
_Variants of the Name “Haydn” within the Limits of the Composer’s Family._
(_a_) _Haiden_: Register of Caspar Haiden’s marriage, Hainburg, 1657.
Register of Joseph Haiden’s death, Hainburg, April 19, 1715.
Register of the composer’s baptism, Rohrau, April 1, 1732 (the father’s name is given as Mathias Haiden).
Register of his mother’s death, Rohrau, February 25, 1754.
(_b_) _Hayden_: Register of Thomas Hayden’s death, Hainburg, September 4, 1701, and of his widow’s re-marriage, Hainburg, January 8, 1702.
Register of the composer’s marriage, (St. Stephen’s, Vienna, November 26, 1760).
The composer’s signature (quittance for salary) Eisenstadt, January, 1762.
Register of Mathias Hayden’s death, Rohrau, September 14, 1763, and the monument to him now in Rohrau Churchyard.
Frequent concert notices, both of the composer and his brother Michael, the latter at Salzburg.
Habitual signature for many years of Michael Hayden.
The composer’s monument in Count Harrach’s Park at Rohrau.
(_c_) _Haidin_: The name of the composer’s mother is so given on the monument in Rohrau Churchyard.
(_d_) _Heyden_: The composer’s name is so written throughout the “Convention und Verhaltungs-Norma” under which he held his appointment at Eisenstadt.
(_e_) _Heiden_: Register of Thomas Heiden’s baptism, Hainburg, 1655.
(_f_) _Hayd’n_: } Occasionally, though rarely, (_g_) _Haydtn_: } in concert programmes.
(_h_) _Haydn_: Register of Mathias Haydn’s baptism, Hainburg, January 31, 1699.
The composer’s habitual signature after February, 1762.
Register of his wife’s death, Baden, March 20, 1800.
Diploma of the Freedom of Vienna, April 1, 1804.
Many notices and concert programmes.
Monument to the composer in the Einsiedeln Church at Eisenstadt.
(_i_) _Haidn_: Register of Barbara Haidn’s baptism, Hainburg, January 2, 1658.
Frequent notices and concert programmes.
Letter of Beethoven, 1822.
(_k_) _Hayrn_: Register of Thomas Hayrn’s marriage, Hainburg, November 23, 1687—his father’s name is also given as Caspar Hayrn; see letters (_a_), (_b_), and (_c_).
(_l_) _Hein_: Register of Mathias Hein’s marriage, Rohrau, November 24, 1728.
(_m_) _Haden_: } (_n_) _Hädn_: } Occasional variants in registers and (_o_) _Hayn_: } documents at Hainburg, Rohrau, &c., (_p_) _Hain_: } noted by Dr. Pohl. (_q_) _Heim_: }
_Large crown 8vo., with Portraits on Copper. Price 7s. 6d._
STUDIES IN MODERN MUSIC.
HECTOR BERLIOZ, ROBERT SCHUMANN, RICHARD WAGNER.
THIRD EDITION.
By W. H. HADOW, M.A., _Fellow of Worcester College, Oxon._
“We have seldom read a book on musical subjects which has given us so much pleasure as this one, and we can sincerely recommend it to all who are interested in the art.”—_Saturday Review._
“It is a real relief, amid the rambling and slipshod effusions which constitute the bulk of musical _belles lettres_, to encounter such a volume as these ‘Studies in Modern Music,’ by Mr. W. H. Hadow. Mr. Hadow is himself a musician of no mean attainments; but there is no parade of technical knowledge in his book. He writes like a scholar and a gentleman, his style is felicitous and his critical attitude at once sane and generous.”—_Graphic._
“He writes with striking thoughtfulness and breadth of view, so that his essays may be read with much interest by musicians. It is a remarkable book, because, unlike the majority of musical treatises by amateurs, it is full of truth and common sense.”—_Athenæum._
“The essay on musical criticism is well worth anybody’s reading; its general tendency is to extend the basis of modern criticism, commensurably with the larger and wider scope of modern music, to establish standards of musical value by which modern works can be more justly measured than by the pedantic misapplication of once valid rules. In his whole discourse on the subject Mr. Hadow gives evidence of immense common sense, backed up by innate and cultivated artistic perception.”—_Atlantic Monthly._
_BY THE SAME AUTHOR. With Portraits. Price 7s. 6d._
STUDIES IN MODERN MUSIC.
_SECOND SERIES._
FREDERICK CHOPIN, ANTONIN DVORÁK, JOHANNES BRAHMS.
_PRECEDED BY AN ESSAY ON MUSICAL FORM._
SECOND EDITION.
“The three biographies are charming; and in each case the author has something both true and new to say.”—_National Observer._
“The development of form is described with many brilliant touches and with complete grasp of the subject, and the book, which will probably be considered to be even better than the former work, is most heartily to be recommended to all who wish to attain the highest kind of enjoyment of the best music.”—_Times._
“Highly finished portraits are presented of the three modern masters named, and the articles are distinguished by the same musicianly knowledge and felicity of expression as those in the earlier book.”—_Athenæum._
“The amount of labour and research condensed into these pages is really remarkable.”—_Musical Times._
“There is not a word either in the historical or exegetical portions of Mr. Hadow’s work which will not furnish agreeable suggestion to the casual reader, and satisfaction to the student.”—_St. James’s Gazette._
LONDON: SEELEY AND CO., LIMITED, 38, GREAT RUSSELL STREET, W.C.
_Published in Two Editions, price Sixpence and One Shilling; sewed; also in cloth, at Eightpence and Eighteenpence._
THE CHORAL SERVICE BOOK
FOR PARISH CHURCHES,
CONTAINING
_THE FERIAL AND FESTAL RESPONSES, THE LITANY, CHANTS ARRANGED FOR THE CANTICLES AND PSALTER, AND MUSIC FOR THE COMMUNION SERVICE._
Compiled and Edited by J. W. ELLIOTT,
_Organist and Choirmaster of S. Mark’s, Hamilton Terrace, London._
The Book contains the following music for the Services of the Church:—
THE FERIAL RESPONSES AND THE LITANY. With the Ancient Melody by JOHN MARBECK. Harmonised by J. W. ELLIOTT.
THE FESTIVAL RESPONSES. With the Harmonies by T. TALLIS.
THIRTY CHANTS FOR THE VENITE.
TWELVE SETS OF CHANTS FOR EACH OF THE OTHER CANTICLES.
TWELVE SETTINGS OF THE KYRIE ELEISON.
A SETTING OF THE COMMUNION SERVICE. By DR. J. NAYLOR.
TWO COMPLETE SETS OF CHANTS FOR THE PSALTER
SPECIAL SETTINGS OF THE PROPER PSALMS, AND OF PSALMS FOR A FLOWER SERVICE AND HARVEST FESTIVAL.
OPINIONS OF THE PRESS.
“It was a happy thought to combine in one book all the music required for an ordinary choral service. Most of our living Church musicians have been laid under contribution to this most excellent collection.”—_Musical Standard._
“In the selection of chants the compiler has been guided by an excellent taste. The organist or choirmaster who uses this book will find here not merely the familiar chants we should all be sorry to miss, but many others but little known, and yet both beautiful and well adapted to congregational use. The book is very skilfully arranged and is clearly printed.”—_Record._
“A very useful book. The intention of the editor is to promote congregational singing, and therefore all music which is too elaborate in character, or too high in pitch, has been rigorously excluded.”—_Church Bells._
“An abundant supply of chants, single and double. Mr. Elliott’s work will assist organists in the choice of suitable chants.”—_Church Times._
“A great variety of chants, old and new, will also commend the book, a set for the proper Psalms being especially useful. Altogether this is a book safely to be recommended.”—_Saturday Review._
LONDON: SEELEY AND CO., LIMITED, 38, GREAT RUSSELL STREET, W.C.